RHIZOME DIGEST: 09.01.06

discussion

Posted Aug. 31 2006 20:00

RHIZOME DIGEST: 09.01.06

RHIZOME DIGEST: September 1, 2006 Content: +opportunity+ 1. Adam Brown: CALL FOR ENTRIES :: The Uprgrade! International 2. Rebecca Zorach: Call for proposals/contributions: PATHOGEOGRAPHIES 3. info@cwow.org: CALL FOR CURATOR 4. Jessica McMahon: 2007 Artist Residency 5. David Familian: Call for Proposals:Beall Center for Art and Technology +announcement+ 6. dave.miller.uk@gmail.com: SHIRLEY BASSEY GETS MIXED UP 7. Geert Dekkers: Opening Digital Bodies Saturday Sept 2nd 4 - 6 PM 8. nat muller: Cinema Lebanon: Benefit Screening In De Balie Sep 9 9. Ken Goldberg: atc @ ucb: fall 06 - spring 07 program 10. Lauren Cornell: Art, Play and Community on Sept 8th +Commissioned by Rhizome.org for KEYLINES+ 11. Bruce Sterling: Watching Stuff Rot, or, Society, Technology & Environment + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome is now offering Organizational Subscriptions, group memberships that can be purchased at the institutional level. These subscriptions allow participants at institutions to access Rhizome's services without having to purchase individual memberships. For a discounted rate, students or faculty at universities or visitors to art centers can have access to Rhizome?s archives of art and text as well as guides and educational tools to make navigation of this content easy. Rhizome is also offering subsidized Organizational Subscriptions to qualifying institutions in poor or excluded communities. Please visit <a rel="nofollow" href="http://rhizome.org/info/org.php">http://rhizome.org/info/org.php</a> for more information or contact Lauren Cornell at LaurenCornell@Rhizome.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1. From: Adam Brown <awbrown@ou.edu> Date: Aug 31, 2006 Subject: CALL FOR ENTRIES :: The Uprgrade! International Call For Entries Upgrade! International: Oklahoma City Upgrade! OKC 811 N Broadway Oklahoma City, OK, 73102 December 1st ? 29th DIY Exhibition: DIY (do-it-yourself) is the overarching theme for the exhibit. We live in an era of increased technological dependency in which the phrase, ?Do-it-Yourself? has and will continue to take on new cultural meanings. The Upgrade! OKC and IAO (Individual Artists of Oklahoma) are inviting local and regional artists working with digital and electronic media to submit examples and interpretations of this concept to be exhibited as part of the 2006 Upgrade! International Symposium. These works will be shown at the IAO Gallery with a net art exhibition curated by Tubulence.org and Rhizome.org. The Symposium will be a four-day event running from Thursday, November 30th?Sunday, December 3rd. However, this exhibition will remain on display through December 29th. About Upgrade!: Upgrade! is an international, emerging network of autonomous nodes united by art, technology, and a commitment to bridging cultural divides. While individual nodes present new media projects, engage in informal critique, and foster dialogue and collaboration between individual artists, Upgrade! International functions as an online, global network that gathers annually in different cities to meet one another, showcase local art, and work on the agenda for the following year. About the Upgrade! International Symposium: The UIOC will be the second annual international gathering where individual Upgrade! organizations and their artists converge in one physical location to present art and ideas to each other and the community. Included in the event will be workshops on art and technology, audio/video performances and presentations, and an exhibition of international and regional artists. Workshops will cover topics such as net art and creating content for the world wide web for children, creative application of open source software, social mapping as a medium of self expression, and much more. Submission guidelines: Please submit a detailed proposal that includes documentation, installation information, and contact information. An artist?s statement is recommended but not required. Documentation may be in the form of, but not limited to: sketches, video, CD or DVD. Installation, performance, net art, single and multi-channel video, sound/noise art, are all acceptable candidates. Please be clear about what, if any, multi-media equipment your work requires. Installations and/or works requiring extra set-up time must be installed by November 29th. Artists will be responsible for the installation of these works. This is a regional call for entries open to artists in the state of Oklahoma and surrounding areas including Texas, Kansas, Missouri, Arkansas, Colorado, New Mexico, and Arizona. By submitting work to the exhibit, the artist agrees to let their work be reproduced in a catalog and marketing materials. Artists selected to participate in the exhibit will also be granted free admission to all workshops, performances, etc. Delivery: Proposals may be mailed to: PO Box 60824 Oklahoma City, OK 73146 Emailed to: iaogallery@coxinet.net Or, delivered in person to: IAO Gallery 811 N Broadway Oklahoma City, OK 73102 Sales: No commission will be retained on sales from the exhibition. IAO Gallery will provide artists? information upon request to potential buyers. A 30% donation to IAO would be appreciated. Liability: The artist is responsible for safe delivery and timely pickup of work. IAO Gallery will take every precaution to keep work safe for the period from November 22, until the final pickup date, Wednesday January 3rd, 2006. The artist is responsible for damage or loss after this date. By submitting work to this exhibition, the artist agrees to abide by the terms set forth here. Important Dates: September 27th - Submissions should be RECEIVED by this deadline. October 18th - Notification of acceptances November 22nd - Artwork due at IAO December 1st - Opening December 29th - Last day of exhibition January 2 - 3rd, 2007 - Pick up work at IAO Curators: Adam Brown: Brown directs the Oklahoma component of Upgrade!. He has a diverse undergraduate educational background in Biomedical Engineering and Intermedia. He completed all of his graduate work at the University of Iowa, and obtained his M.F.A. there in May 2000. While at Iowa, Brown was instrumental in creating a new digital media art program called Digital Worlds. Since 2000, Adam Brown has been a Professor at the University of Oklahoma where he teaches courses in electronic media, computer science, interactivity, video and theory. He currently resides in Oklahoma City. Jeff Stokes: Stokes grew up in Oklahoma and received a B.F.A from Oklahoma State University in 1990, and an M.F.A. in painting from Wichita State University in 2004. Stokes has curated numerous contemporary art exhibits in Kansas and Oklahoma museums and galleries, as well as showing his own sculpture, drawings and paintings in Kansas, Oklahoma, and New York. Stokes taught art in the secondary schools, and was an adjunct instructor in drawing at both Oklahoma State and Wichita State before accepting a position as Executive Director at Individual Artists of Oklahoma (IAO) in 2005. IAO is a not-for-profit arts organization committed to supporting Oklahoma artists in all media, including the visual arts, poetry, performance art, and film & video. Julia Kirt: Kirt has served as the Executive Director for the Oklahoma Visual Arts Coalition since 1999 where she works with more than 2,500 artists statewide for professional development, grants, exhibitions and publications. She has planned and led more than two dozen workshops for artists, spoken to hundreds of students, and coordinated public educational events around the state. She instigated the Momentum exhibition and event for young artists that was attended by more than 2100 people this year and the Virtual Gallery online, which highlights hundreds of artists' artwork. She served on the board of the National Association of Artists' Organizations from 2000 until 2004, for which she acted as Treasurer in 2002 and 2003. Kirt has been a grant panelist twice for the National Endowment for the Arts in Access, Preservation, Visual Arts Creativity and Organizational Capacity categories. Joseph Daun: Daun graduated from Florida State University in 1990 with a Bachelor?s of Fine Arts with an emphasis in Photography. In 1994, Daun earned his Master?s of Fine Arts from the University of Texas San Antonio with an emphasis in both Photography and Sculpture. Daun was selected as Chair of the Art Department at the University of Central Oklahoma. In 2005, Daun earned a tenure appointment at UCO. During his academic career, Daun has shown in numerous art galleries and spaces across the United States including a prestigious artist?s residency at ArtPace in San Antonio, One person Exhibit at Hallwalls Contemporary Art Center in Buffalo, NY, A large installation at Fotouhi-Cramer Gallery in New York, NY, a one-person exhibit at 621 Gallery in Tallahassee, FL, large installation at Transylvania University in Lexington, KY, One person exhibit at Texas A&M University in Corpus Christie, TX. His work is in numerous university and private collections, including the University of Texas at San Antonio and the University of Central Oklahoma. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. From: Rebecca Zorach <rezorach@uchicago.edu> Date: Aug 29, 2006 Subject: Call for proposals/contributions: PATHOGEOGRAPHIES CALL FOR PROJECTS/CONTRIBUTIONS Pathogeographies (or, other people's baggage) Feel Tank Chicago <www.feeltankchicago.net>; March and June/July 2007 'At the Edge' series, Gallery 400, University of Illinois at Chicago Feel Tank is a Chicago collective that's been taking the emotional temperature of the body politic for four years. We are now investigating the making of that temperature. We're interested in the political potential of 'bad feelings' like hopelessness, apathy, anxiety, fear, and numbness. For Pathogeographies, we're also interested in other people's baggage. The term 'pathogeography' is modeled on the Situationists' psychogeography but substitutes pathos (feeling) for psyche (the soul) to emphasize the emotional investments and ephemeral experiences circulating throughout the political and cultural landscape. We invite other collectives and individuals–artists and non-artists alike–to create 'suitcases' (real or imagined) carrying tools to create, collect, and record political/emotional scenes. Projects will take place in the city of Chicago and elsewhere. We ask only that you return something from your project to the gallery to be inspected, collated, discussed, distributed, and diverted to new uses. How do you carry your pile of political feelings, and how do you want to encourage others to carry theirs? We want to foment exuberant political imaginaries. To this end, we call on you, your ideas, energy, and participation. The project will function in four parts: Raw Material, Moving Company, Slow Feeling, and the Body Politic. Raw Material will be a site in the gallery–a location where people can gather, discuss, brainstorm and work–and the aggregation of materials/tools that participants will bring and that Feel Tank will provide. Moving Company extends the project out into the pathopolitical world, as participants wander through the city or direct themselves to specific destinations, carrying suitcases/toolkits to make scenes and produce situations, conversations, and interventions. Slow Feeling, a space in the gallery, will include small temporary exhibitions, video screenings, memory banks and archives, a reading room, and an audio tent. Body Politic concludes the project, manifesting as projects in the gallery and as public happenings that coalesce and articulate the results of individual and collaborative projects/research. The project begins March 6-9 and reconvenes in and out of the gallery June 15-July 7. It will conclude July 4-7, 2007 with the long-awaited Fifth Annual International Parade of the Politically Depressed. PRELIMINARY CALL FOR PARTICIPATION: A CALL FOR SUITCASES A suitcase may be large or small, real or conceptual. We define a suitcase as a container of any shape for a collection of tools, objects, instructions, necessities, and/or ideas that you want to activate. It might also contain emotional baggage, ripe for unpacking. Ideally, a suitcase will be accompanied by a willingness to carry out and document a Moving Company project for which it provides the tools. (These projects need not take place in Chicago.) It might contain Raw Material that visitors to the gallery can use as they wish. It might also, simply, be a list of instructions. Send a short description of what you have in mind to bodypolitic@gmail.com with the subject line 'Suitcase' by November 1, 2006. Please limit it to no more than 250 words. We'll be in touch about specifics/logistics. A CALL FOR PROPOSALS for Slow Feeling We're also interested in proposals and suggestions for discussions, demonstrations, performances, videos, audio pieces, and projects for Slow Feeling events (not all of them slow). Please send ONLY a short proposal of no more than 250 words with the subject line 'Slow Feeling' to bodypolitic@gmail.com, by November 1, 2006. Preliminary call for proposals ONLY PLEASE DO NOT SEND ACTUAL WORK OR DOCUMENTATION AT THIS TIME! Thanks, and we look forward to hearing from you! www.feeltankchicago.net - Please circulate widely - Please circulate widely - Please circulate widely - + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. From: info@cwow.org <info@cwow.org> Date: Aug 30, 2006 Subject: CALL FOR CURATOR CALL FOR CURATOR. City Without Walls (cWOW), New Jersey's oldest alternative art space, is seeking a curator for its third annual 1800Frames exhibit, which features recently produced, independent, non-commercial one-minute videos. SCHEDULE. Show dates for 1800 Frames are December 7, 2006 - January 11, 2007. Curator selection and a call for work will be posted by mid-September. The curator's final selection of approximately 40 works and completion of a brief catalogue essay are due by late October. CURATORIAL PROCESS. The curator is free to select any artist of their choosing. The curator is not required to select cWOW members, and selected artists are not required to become members. However, curators must review all member entries, and are encouraged to ask artists to join. This process ensures high-quality, independent selection, while also building our membership base, which provides crucial support for programming such as the 1800Frames exhibition. EXHIBITION DETAILS. cWOW's gallery in downtown Newark is a state-of-the-art facility with over 1,600 square feet of exhibition space, including a main gallery, a project room, 9-foot screen, several flat-screen TVs, and other video projection equipment. Videos may also be made accessible through our website at www.cwow.org <<a rel="nofollow" href="http://www.cwow.org">http://www.cwow.org</a>> , and will be available as a tax-deductible premium compilation disc to support cWOW. MISSION AND FUNDERS. City Without Walls, in continuous operation since 1975, is a not-for-profit urban gallery of emerging art that advances the careers of artists while building the audience for contemporary art. cWOW is funded in part by Prudential Foundation, Geraldine R. Dodge Foundation, NJ State Council on the Arts/Department of State, JPMorganChase and the City of Newark. cWOW is a three-time recipient of the prestigious NJSCA "Citation of Excellence." CONTACT. William Ortega, Gallery Director, City Without Walls, 6 Crawford Street, Newark, NJ 07102-2412, tel 973.622.1188, fax 973.622.2941, William@cWOW.org, www.cWOW.org <<a rel="nofollow" href="http://www.cWOW.org">http://www.cWOW.org</a>> . + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Support Rhizome: buy a hosting plan from BroadSpire <a rel="nofollow" href="http://rhizome.org/hosting/">http://rhizome.org/hosting/</a> Reliable, robust hosting plans from $65 per year. Purchasing hosting from BroadSpire contributes directly to Rhizome's fiscal well-being, so think about about the new Bundle pack, or any other plan, today! About BroadSpire BroadSpire is a mid-size commercial web hosting provider. After conducting a thorough review of the web hosting industry, we selected BroadSpire as our partner because they offer the right combination of affordable plans (prices start at $14.95 per month), dependable customer support, and a full range of services. We have been working with BroadSpire since June 2002, and have been very impressed with the quality of their service. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. From: Jessica McMahon <ipark2002@ureach.com> Date: Sep 1, 2006 Subject: 2007 Artist Residency Announcement: 2007 Residency Season at the Artists' Enclave at I-Park Application Deadline: October 31, 2006 I-Park announces its seventh season hosting The Artists' Enclave. Artists' residencies, self-directed/project oriented, will be offered from May through October 2007. Most sessions are four weeks in duration, with a six-week session planned for October-November. Residencies will be offered to visual (including digital) artists, music composers, environmental artists, landscape and garden designers and architects. Work samples will be evaluated through a competitive, juried process. There is a $20 application processing fee required and artists are responsible for their own transportation to the area. They also provide for their own food and work materials. The facility is otherwise offered at no cost to accepted artists. I-Park is a 450-acre natural woodland retreat in rural East Haddam, Connecticut. Accommodations include comfortable private living quarters in an 1850's farmhouse, shared bathroom facilities and a private studio on the grounds. An electric kiln, music equipment and library facilities are provided. International applicants welcome. For additional project information, go to our website: www.i-park.org. Application materials for 2007, including an in depth FAQ, will be available for direct download from the website (Residency Program section) in early September E-mail: ipark2002@ureach.com. Phone: 860-873-2468. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. From: David Familian <dfamilia@uci.edu> Date: Sep 1, 2006 Subject: Call for Proposals:Beall Center for Art and Technology The Beall Center for Art and Technology seeks projects of high artistic merit that use technology in innovative ways. We offer honorarium and project costs of up to $20,000, to realize the project in our 2500 sqf space. We are also interested in collaborating with other institutions to fund projects of larger scale. We are currently soliciting proposals for exhibition years 2007 and 2008. The proposals will be reviewed in November of 2006 by the Beall Center Curatorial Review Committee, and artists notified in early Winter of 2007. The Beall Center produces exhibitions and performances in the visual arts, theater, dance, and music, and particularly seeks works that successfully integrate new forms or uses of technology with artistic production or performance. In addition, as the Beall Center has an exceptionally well- developed and flexible infrastructure, and knowledgeable staff that is found in very few art and technology centers, preference will be given to works that can not easily be displayed or performed elsewhere. Eligibility Artists, curators, or institutions are eligible to submit proposals. Priority is given to cross-disciplinary projects. Artists or organizations that have previously received funding from the Beall Center must wait at least two years before reapplying. Women and artists of color are encouraged to apply. Available Facilities The Beall Center is a 2500 square foot black box with a highly configurable network grid, and connectivity to gigabit speed Ethernet. See 'Facility' <a rel="nofollow" href="http://beallcenter.uci.edu">http://beallcenter.uci.edu</a> for additional information. Deadline for Application:October 20, 2006 Award Notification: Winter 2007 Proposals Proposals should be submitted only in electronic format (pdf) and should include : 1) Contact Information (name of lead applicant, address, email, phone) 2) Project abstract: 100 words 3) Project description (500 word max.) 4) Resume or curriculum vitae for applicant and all participants. 5) One page itemized budget. 6) List of equipment and other resources required. If you will require technical assistance, please outline the nature of that support (hardware, software, expectations of personnel, and programming skills that will be required). 7) Copy of any matching awards or copy of funding request for external and internal sources. Priority will be given to projects with supplemental funding. 8) Preliminary visual diagrams indicating installation concepts, in electronic format (pdf). 9) Samples of work: For ease of presentation it is best to submit images within the PDF proposal document. Include detailed explanations about the work samples. Time-base should be submitted in QuickTime mov files on cd or dvd media only (NO DVDs); and for sound works, submit audio files in mp3, refer to your video or audio files in your proposal, with a describtion. 10) Please be prepared to provide two references; you may be contacted during the review process to provide these. Award Criteria Criteria used to select proposals include the following: 1) Intellectual and artistic merit in the proposed project 2) Degree of technological innovation 3) Feasibility of the project under sponsorship of the Beall Center 4) Extent of collaborative and interdisciplinary activity 5) Possibility of subsequent installation or performances outside UCI 6) Presence of matching funds For a list of previously funded projects (2000-2006), see <a rel="nofollow" href="http://beallcenter.uci.edu/calendar/calendar.htm">http://beallcenter.uci.edu/calendar/calendar.htm</a> Methods of Submission The preferred submission method (but not required) is to post your proposal and work samples on your website 1. Mail proposal cd, or dvd media (not as dvds) only to: Beall Center for Art and Technology Exhibition Grant Proposal HTC 101, University of California Irvine, CA 92697-2775 Attn: Eleanore Stewart 2. Email proposal to estewart@uci.edu or dfamilia@uci.edu Contact Information Eleanore Stewart, Director (949) 824-8945 estewart@uci.edu David Familian, Associate Director (949) 824-4543 dfamilia@uci.edu + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. From: dave.miller.uk@gmail.com <dave.miller.uk@gmail.com> Date: Aug 28, 2006 Subject: SHIRLEY BASSEY GETS MIXED UP 'Shirley Bassey Mixed Up' is a collaborative biography: an illustrated biography of the legendary diva, where the reader helps to 'mix' the illustrations online, using Internet searches. <a rel="nofollow" href="http://dev2.manme.org.uk/~davem/bassey_story/">http://dev2.manme.org.uk/~davem/bassey_story/</a> All illustrations are built on-the-fly from live Yahoo searches. By specifying different searches and playing with the customisation options, the reader creates the illustrations themselves. This is a traditional (linear) 14-page story built on top of a generative composition tool, that uses Internet search data as its input. The work can be described as a networked narrative, as a story partly created by networked data. Adding unexpected and uncontrolled elements to the story influences and changes the presentation, how it's experienced and what we take away from it. This shapes the story, changing fact into fiction, sometimes disrupting the story. As the networked elements are dynamic and largely unpredictable, every version of the biography is unique. Your version of the story is packaged into booklet form, for you to print and keep. About Dave Miller: Dave Miller experiments with illustrated stories and networked media. More of his work can be seen here: <a rel="nofollow" href="http://dev1.manme.org.uk/~davem/davemiller_art_blog">http://dev1.manme.org.uk/~davem/davemiller_art_blog</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 7. From: Geert Dekkers <geert@nznl.com> Date: Aug 29, 2006 Subject: Opening Digital Bodies Saturday Sept 2nd 4 - 6 PM http:nznl.org/ digital_bodies/ Digital Bodies.html NOTES ON THE TRANSITION FROM THE DIGITAL TO THE PHYSICAL (AND BACK AGAIN) GEERT DEKKERS (NL) FOOFWA D'IMOBILIT=C9 (CH) MOGENS JACOBSEN (DK) JAN ROBERT LEEGTE (NL) ALAN SONDHEIM (USA) you are cordially invited for the opening Saturday 2 09 / 16 h / 18 h reutengalerie amsterdam fokke simonszstraat 49 wo/za 13 h/18 h 2 09 / 7 10 06 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome.org 2005-2006 Net Art Commissions The Rhizome Commissioning Program makes financial support available to artists for the creation of innovative new media art work via panel-awarded commissions. For the 2005-2006 Rhizome Commissions, eleven artists/groups were selected to create original works of net art. <a rel="nofollow" href="http://rhizome.org/commissions/">http://rhizome.org/commissions/</a> The Rhizome Commissions Program is made possible by support from the Jerome Foundation in celebration of the Jerome Hill Centennial, the Greenwall Foundation, the Andy Warhol Foundation for the Visual Arts, and the New York City Department of Cultural Affairs. Additional support has been provided by members of the Rhizome community. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 8. From: nat muller <nat@xs4all.nl> Date: Aug 29, 2006 Subject: Cinema Lebanon: Benefit Screening In De Balie Sep 9 +++++++++++++++++++++++++++++++++++++++++++ 9 September | 18.00 h, 20.00 h, 22.00 h Cinema Libanon: Charity Screening Entrance: euro 10,- | combination ticket euro 25,- Location: De Balie, Kleine-Gartmanplantsoen 10, Amsterdam URL: www. balie.nl With introductions by Pierre Sarraf (director Né à Beyrouth) +++++++++++++++++++++++++++++++++++++++++++ Lebanon, and more specifically Beirut, still conjure two very dichotomous and cliché images in the West: either the lamented former glory of the pearl of the Middle East, or the atrocities of a 15-year protracted civil war. With the media saturation of the recent war between Israel and Hizbullah still fresh, and the shaky promise of a brittle ceasefire, Lebanon once again risks to fall prey to stereotyping. In defiance of the war and in solidarity with the humanitarian crisis in Lebanon, De Balie organises an evening of films, documentaries and videos by Lebanese makers, in collaboration with the Lebanese production house and film festival Né à Beyrouth. The selection of films are testimony to the resistance of Lebanese artists to a historical and cultural amnesia, and show that being rooted in contemporary Lebanon is as much a commemoration of an untold past, as it is a reflection on and of the present. With thanks to: Pierre Sarraf (Né à Beyrouth), Joanna Hadjithomas & Khalil Joreige, Celluloid Dreams, Akram Zaatari, and other participating artists. Ticket sale donated to humantiarian relief causes in Lebanon. _PROGRAM DETAILS_ BLOCK 1: 18.00 h "Ce sera beau, from Beirut with love" Wael Nouredinne, 30min, 2005 (16mm) >From Beirut ? with Love:. A cinematic postcard greeting, so bitter and cynical, it can only come from a city being at war with itself. "In this house", Akram Zaatari, 30 min, 2004 (video) At the end of the Lebanese civil war in 1991, Ali, a member of the Lebanese resistance, wrote a letter to the owners of the house his group had occupied for six years. In November 2002, Akram Zaatari took his video camera and headed to this family?s village in Ain al-Mir to dig up Ali?s letter. Improvised shorts ? reflections on the recent war by Joanna Hadjithomas & Khalil Joreige, Akram Zaatari, Michel Kammoun, Hani Tamba, and Ziad Antar. BLOCK 2: 20.00 h "Meshwar" 26 min, Ziad Antar & Marc Casal Liotier 2005 (DV cam) The assassination of former prime minister Rafiq Harari in February 2005, and the instable security situation in Lebanon, has brought back memories of the civil war. ?All is well on the border", 43 min, Akram Zaatari (video) Issues of representation within the occupied zone of South Lebanon are explored in this documentary. The film?s three staged interviews with Lebanese prisoners in Israel illustrate aspects of life under occupation with convincing poignancy. Zaatari uses the interview format as a tribute to French filmmaker Jean-Luc Godard?s Here And Elsewhere, which probed images of the Palestinian/Israeli conflict in South Lebanon 20 years earlier. BLOCK 3: 22.00 h "My friend Imad and the Taxi", 19 min, Olga Nakkas/Hassan Zbib, Lebanon (1985 and 2005) In 1985, Hassan Zbib and Olga Nakkas separately started to develop film scenarios based on simple narratives. Their work took Beirut as a stage where lonely characters drifted: a taxi driver in his car, a man walking around and talking to a Rambo poster. These films were never presented as finalized works until a Beirut-based festival, Né à Beyrouth, spotted them and asked the filmmakers to present their films with live electronic music. "A Perfect Day", 88min, Khalil Joreige en Joanna Hadjithomas, 2005 Stuck in a traffic jam, Malek catches a glance of Zeina, the woman he loves. His mother Claudia has still not accepted his father?s disappearance after 15 years. She stays at home should her husband return, Malek drives around the city alone in his car.Each of them living with a void of lost love. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 9. From: Ken Goldberg <goldberg@ieor.berkeley.edu> Date: Aug 30, 2006 Subject: atc @ ucb: fall 06 - spring 07 program Although Grigori Perelman has apparently resolved Poincare's Conjecture, many other conjectures remain open. Help us evaluate wild hunches and unexpected perspectives during our Tenth Anniversary Season: The Art, Technology, and Culture Colloquium of Berkeley's Center for New Media Fall 2006 - Spring 2007 Monday Evenings, 7:30-9:00pm, 160 Kroeber Hall, UC Berkeley ============================================================= 2006 Sep 11 Making Faces: Theatrical Materiality and Technological Embodiment Pamela Z, Performance Artist, SF Sep 25 Mediatic Performance: New Technologies for Old Theater Marianne Weems, Director, The Builders Association, NY Oct 16 Recent Experiments in Modern Composition, Software, and Stand-Up Comedy Cory Arcangel, Artist, NYC (*) Oct 30 Extraterrestrial Aesthetics, Divine Genetics, and Other Thought Experiments Jonathon Keats, Artist, SF Nov 13 Stop Making Sense: Contextualizing Media Art Rudolf Frieling, Media Arts Curator, SFMOMA 2007 Jan 22 ANALOG Pierre Huyghe, Artist, Paris (**) Feb 12 The Re-Dematerialization of the Art Object Matmos, Musicians and Sound Artists, SF Mar 12 The Twilight of Posterity Kaja Silverman, Rhetoric and Film Studies, UC Berkeley Apr 23 Can You Say…2007 ? Doug Aitken, Artist, LA ATC Director: Ken Goldberg ATC Assoc. Director: Greg Niemeyer ATC Grad. Associate: Irene Chien Curated with: ATC Advisory Board Sponsored by: * Office of the Executive Vice Chancellor and Provost * Center for New Media (CNM) * Intel Research Labs * Berkeley Art Museum / Pacific Film Archive * Townsend Center for the Humanities * Center for Information Technology in the Interest of Society (CITRIS) * College of Engineering, Interdisciplinary Studies Program * Consortium for the Arts (*) in conjunction with Dept of Art Practice "Interventions" Lecture Series (**) co-sponsored by California College of Arts, SF (Talk location TBA) For updated information, please see: <a rel="nofollow" href="http://atc.berkeley.edu/">http://atc.berkeley.edu/</a> Contact: goldberg@berkeley.edu, or phone: (510) 643-9565 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 10. From: Lauren Cornell <laurencornell@rhizome.org> Date: Sep 1, 2006 Subject: Art, Play and Community on Sept 8th Hello, If you're in NYC on September 8th, please join us at ³Art, Play, and Community² which will celebrate the release of Joline Blais and Jon Ippolito¹s At the Edge of Art and Alex Galloway¹s Gaming. The event will take place at the New Museum Store on September 8th from 6:30-8:30, and will include a brief dialogue with the authors at 7pm. This event is open to non-Members and there is no admission charge. All details can be found here: <a rel="nofollow" href="http://rhizome.org/events/cnms/part3.rhiz">http://rhizome.org/events/cnms/part3.rhiz</a> All best, Lauren + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 11. From: Bruce Sterling +Commissioned by Rhizome.org+ For KEYLINES, a Project of Rhizome's Tenth Anniversary Festival of Art & Technology <a rel="nofollow" href="http://www.rhizome.org/events/tenyear/keylines.rhiz">http://www.rhizome.org/events/tenyear/keylines.rhiz</a> +Please visit KEYLINES to respond or post your own essay!+ "Watching Stuff Rot, or, Society, Technology & Environment" "Society" means everybody. "Technology" means anything invented since the grownups were born. "Environment" means everything else. So when we're describing the keenly modern crises of technology, environment, and society, we're talking mush, an indefinite mulch. Which is a good thing, because that's what we've got. Entropy requires no maintenance, so "technology" rots year by year. Anything that rots within a biosphere becomes a general froth of "environment." "Society," meaning you and me, are entirely built out of "environment." Our flesh is entirely composed of various elements we breathe and swallow, which means that, as time passes, we're increasingly composed of flakes, bits, and froths of former technological components. This is by far the most intimate relationship between society, technology, and the environment: it's that pollutant load within our own bodies. We've never learned how to put our toys away; we depend on Mom, Mother Nature, to put them away for us. Carbon-dioxide isn't really a "pollutant," but Mom's a little laggard about tidying it up for us. So, every day, "society" breathes an atmospheric bouillon of fossil-fuel fumes. We're still breathing leftover tank exhaust from World War I. It takes a rather Gothic frame of mind to take pleasure in watching stuff rot. Generally, we just don't do it at all. It's dirty, it smells, it's dangerous, it grimly reminds us of our own mortality. There's not a lot of money in the work and, furthermore, most obsolete tech-junk is a direct reproach to us, because it's so entirely loaded-down with annoyingly reactionary social implications from Grandpa's bygone day. Except for antiquarians, futurists, design visionaries, and other cranks, nobody is every going to like watching stuff rot. Nevertheless, the management of our garbage is a vital task, because otherwise, sure as the seas rise, we will be submerged in fetid tides of ever-mounting junk. We can't throw stuff "away" in a biosphere because a biosphere doesn't have any "away." Wait long enough, and abandoned technology seeps into the environmental water table to become an integral part of our general social bloodstream and gene-pool. This is not a new problem; it's just never had a solution. Tactics have been suggested. First, make stuff that rots gracefully, out of all-natural materials. That worked for a couple of million years, but it can't yet support large populations. Tactic number two is to make only permanent, solid objects, in small numbers, as hand-me-downs. A great idea, if you don't mind using Theodore Roosevelt's telephone and Queen Victoria's obstetrics. Then comes the new school of thought: Googling the garbage. If it's all about putting our toys away, why not automate the whole shebang? We'll build an "Internet-of-Things," where the physical world, all our toys and knick-knacks, are neatly pinned and wrapped up in a rhizomatic net of ubiquitous computation, or, to put it in a less elegant metaphor, a planetary leakproof cyber-diaper that keeps the effluent of "technology" from staining "society" and "environment." + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome.org is a 501©(3) nonprofit organization and an affiliate of the New Museum of Contemporary Art. Rhizome Digest is supported by grants from The Charles Engelhard Foundation, The Rockefeller Foundation, The Andy Warhol Foundation for the Visual Arts, and with public funds from the New York State Council on the Arts, a state agency. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome Digest is filtered by Marisa Olson (marisa@rhizome.org). ISSN: 1525-9110. Volume 11, number 33. Article submissions to list@rhizome.org are encouraged. Submissions should relate to the theme of new media art and be less than 1500 words. For information on advertising in Rhizome Digest, please contact info@rhizome.org. To unsubscribe from this list, visit <a rel="nofollow" href="http://rhizome.org/subscribe">http://rhizome.org/subscribe</a>. Subscribers to Rhizome Digest are subject to the terms set out in the Member Agreement available online at <a rel="nofollow" href="http://rhizome.org/info/29.php">http://rhizome.org/info/29.php</a>. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +